I was watching Barbara and Mikko's show in the Goetheanum on Saturday evening and felt somewhat left out of the proceedings but it wasn't until the small hours of Monday that I came to realise what the problem was; it seems to me that for a contemporary eurythmy performance to become effective we must find different ways of including the audience into what we are trying to say. Spiritual content can no longer be passed down from the high altar but the audience needs to be brought  towards the sphere where a communication can take place. There is a great responsibility put on the shoulders of the performers they must open up to the audience, treating as them as spiritual identities, and, at least, for the duration of the performance develop an interest in their path.

We can  use colour on stage to help in this process, helping the audience away from a purely physical visual experience so that they can enter into those places where the eurythmy has its roots so that a communion can take place.

It is an interesting question as to whether the traditional stage form is the best place to perform contemporary eurythmy, since my experinces in Berlin I have great doubts, but in any case (new)eurythmy will only ever be effective in the 21st century when the performers have the ambition to be responsible for each others spiritual development and to include the audience in that development.